User manual PEAVEY CEL-2A

[. . . ] For more information on other great Peavey products, go to your local Peavey dealer or online at www. Intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. CAUTION: To reduce the risk of electric shock, do not remove cover. WARNING: To prevent electrical shock or fire hazard, do not expose this appliance to rain or moisture. [. . . ] If unbalanced outputs are used the negative phase must be grounded. This unbalanced 1/4" TRS jack has both input and output signals. It is configured so that a standard (not cross wired) stereo shielded cable can be used to plug into the TRS insert of a mixer. If unbalanced inputs are used the negative phase must be grounded. A 1/4" stereo (TRS) jack which allows an external device to be inserted into the detector's signal path or an alternate signal can be brought in to be used as a key. the tip has the send signal and the ring is the return input. A switch in the jack normally connects the return (ring) to the send (tip) until a plug is inserted. You may need to go back and adjust the threshold after the ratio has been changed since the soft-knee circuitry has more affect at lower ratios, making the transition point less obvious. For typical voice compression, set the Compressor Ratio control to 4:1 (a range of 2:1 to 6:1 is common) and adjust the Compressor Threshold until the desired amount of gain reduction is seen on the meter. This is a personal preference but continuous gain reduction greater than -9 dB (especially with higher ratios) could be excessive and create pumping/breathing artifacts as the signal rises and falls. Lower ratios will have a more gentle affect. Adjust the Attack control to low values to suppress leading-edge spikes or to high values to let them through (often used to pass through the click of a drum hit). the Release control is adjusted to smooth the transition as it comes out of compression. Too quick a release will cause the signal to sound artificial. A fast attack and a short release time will cause the compressor to track the signal very closely (and keep the dynamic range very limited), but can severely impact the sound. 5 second release time are good starting points. Speak or sing a phrase with heavy sibilance (lots of "Ss") and adjust the Compressor Threshold until 6­9 dB of gain reduction occurs at the peaks. This will get you close to where you need to be. Modify the settings for more or less reduction. If the ratio is too high or the threshold is too low the compression may be exaggerated, causing the material to drop excessively in volume (duck) during sibilance. When heavy bass or low frequency noise causes the compressor to drop levels unnecessarily, the side-chain Low-cut filter can be used. When activated, the Compressor Threshold should be reset since a large portion of the signal usually contains low frequency components. [. . . ] The compressor's threshold must be set at 0, with a strong ratio of 5:1 or higher, a quick attack of 25mS and a release of . If the vocalists push harder against the compressor, feedback and frustration can occur, making the bypass switch a handy tool in monitor world. Keeping as much level as hot as possible for as long as possible is the goal. The compressor's ratio, however, can be set at 6:1, with a threshold of -20 and an attack of 15mS and a release time of . [. . . ]